John McLaughlin: Vision is a Naked Sword

I sure do miss McLaughlin song titles like "Vision is a Naked Sword." What in the world did that mean? It sounded so cosmically spiritual. That is all that really mattered back in those days. Listening to this music was your way of convening with the Supreme Being. (That, some incense and a joint….)

McLaughlin could have called this tune anything he wanted and it would still be great. To hear a full symphony orchestra playing Mahavishnu riffs in full-throttle is a spine-tingling experience. McLaughlin, Ponty, Armstrong, Moran and Walden were the core Mahavishnu band at this point. Their sounds pierce through the London Symphony's support. McLaughlin and Ponty lead with blazing excursions. They perpetrate about a dozen false endings before the music culminates in a soaring coda. Thrilling stuff!

Reviewer's fun fact: Mahavishnu Orchestra road manager Joseph D'Anna has very fond memories of this recording session. In an interview for Power, Passion and Beauty – The Story of the Legendary Mahavishnu Orchestra, D'Anna recalled: "I remember just being a young and naïve kid, and thinking, 'Hey, we are playing with the London Symphony Orchestra.' I thought all these classy classical musicians must be real gentlemen. As soon as there was a break, they all whipped out cigars and started playing cards. It was like when I was growing up on the streets of Brooklyn. It was so strange to me."

Reviewer's pet peeve: The CD reissue of the album lists conductor Michael Tilson Thomas as playing piano on this cut. He actually plays piano on the earlier cut "Power of Love." I can't help it. I hate mistakes in liner notes. It is not like they were writing a book with 90,000 words in it. (And, yes, I hate it when I make mistakes in my reviews as well.)

Editor's note: Walter is being much too self-effacing. His 400+ jazz.com reviews are virtually error-free. I wish I could say the same for my own humble reviews. – Alan Kurtz

September 30, 2008 · 0 comments

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Todd Coolman: Crescent City Ditty

Perfect Strangers was created under the mechanisms and auspices of ArtistShare, an online environment for artists from different locales and backgrounds to collaborate. In this case, accomplished bassist Todd Coolman gathered some of the top-notch working New York City musicians to pair up with composers who answered his "open call" for new tunes from the ArtistShare community. Coolman's quintet successfully meets the challenge of interpreting music they were seeing and hearing for the first time.

"Crescent City Ditty" has a catchy head. Coolman's thumping bass and John Riley's cymbal work carries this straight-ahead piece forward through the changes. Jim McNeely's fine keyboard work leads to a nice workout from trumpeter Brian Lynch. McNeely returns to swing it. Saxophonist Eric Alexander enters with a staccato blaze before he stretches things out. The grooving head arrangement returns to take the piece home. This is good music played with a flowing momentum and straight-ahead power. It is also proof positive that collaboration borne of the Internet can be a beautiful thing.

September 30, 2008 · 1 comment

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Jason Domnarski: Big In Japan

Pianist/composer Jason Domnarski bases Notes from Underground on his musical experiences in New York City. Domnarski is a block-chord player on "Big in Japan." The tune's first half has him playing an infectious rolling chord melody such as you may hear on a good Joe Jackson pop record. Midway through, the tenor of the vibe changes, as an urgency is added through a rhythm shift, piano runs and distorted ambient harmonics. The band sounds experimental for several measures. This change of pace is quickly succeeded by a return of the pleasing chordal changes that got us here in the first place. Domnarski and his talented trio have nailed down the art of catching a groove and milking it for all it is worth. This is always a good thing if you want to entertain some folks.

September 30, 2008 · 0 comments

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Ornette Coleman: Just For You

"Just For You" is one of the more puzzling entries in the Coleman discography. The track features trumpet and alto sax playing simultaneously, yet in the album credits (and all the discographies I've seen), Dewey Redman is noted as playing tenor sax only on these sessions. Therefore, one might infer that Redman sat out this track while Ornette overdubbed either alto or trumpet. At first, the altoist's tone does in fact sound pretty Ornette-ish—that is, until you listen to the other tracks on the album, when it becomes clear that despite the vague similarities, the sound you're hearing was very probably produced by a different musician playing a different horn with a different mouthpiece. Despite what the credits and discographies say, this is almost certainly Dewey Redman playing alto for one of the rare times in his recording career.

That said, the relatively brief (4:14), gloomy ballad is hardly one of Coleman's best efforts. The melody and countermelody are attractive in a rather saccharine kind of way. Ornette's rambling, noodling, note-cracking trumpet solo goes nowhere. Jimmy Garrison's equally meandering arco bass seems almost entirely disconnected from Ornette, as does Elvin Jones's uncharacteristically low-decibel percussion. The best thing about the track is actually Redman's straightforward interpretation of the countermelody. It's the only solid ground in 4+ minutes of aural quicksand. This is by far the weakest track on Love Call.

September 30, 2008 · 0 comments

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Leonardo E.M. Cioglia: Desfiladeiro de Nuvens

To the growing list of fine young bass players with creative and compelling offerings to their credit, add the name Leonardo E.M. Cioglia. Born in Brazil, and a Berklee graduate, Cioglia has attracted sidemen worthy of the most veteran players, forging an extremely satisfying piece of music. Mallet master Stefon Harris conjures aural alchemy within the confines of this floating Cioglia composition. Guitarist Mike Moreno's wonderful turn casts his own hypnotic spell on steel-string acoustic guitar. John Ellis's horn has a John Surman quality to it here, and Antonio Sanchez fills any empty spaces with just the right percussive accent. Harris is the star, with the anticipatory voicings of his solo marimba runs haunting in their prescience. Cioglia must be applauded for assembling just the right performers to make his music magical.

September 30, 2008 · 0 comments

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Leonardo E.M. Cioglia: Filhos do Pequi

With an infectious Latin beat, this Cioglia-composed cooker showcases a talented group of sympathetic musicians through its cascading, crescendo-building twists and turns. The syncopated rhythm section of Cioglia on bass and Metheny-veteran Sanchez on drums more than keeps the beat going in an interesting and dynamic way. Goldberg's inspired piano solo opens the proceedings, with Moreno's subtle rhythm guitar adding precisely the right tone while injecting Metheny-like fills. Ellis's driving saxophone solo further fuels the frenzy, all the while Sanchez's relentless trap, rim and roll work never lets up and never fails to impress. This fine ensemble not only cooks, its nuanced professionalism makes this spicy track well worth savoring.

September 30, 2008 · 0 comments

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Asaf Sirkis: Dream

A hypnotic note cycle introduces the number. You enter into a trance. Special guest keyboardist Gary Husband's synthesizer impersonates a flute being played under water. He is the pied piper of the technological age. An angular electric guitar solo follows. I'd mention the guitar player's name, but I only have a few minutes and there are too many letters to type. You can check out his name in the personnel credits above. At any rate, he prepares you for Asaf Sirkis's drum solo. I would say Sirkis is influenced by Tony Williams. His impressive turn is interrupted by a reappearance the opening note cycle. It is a reassuring if slightly uncomfortable feeling, as if we are going down a drain. The Asaf Sirkis Trio plays some rather enigmatic music. They should be watched very closely.

September 30, 2008 · 0 comments

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Asaf Sirkis: Stoned Bird

I talk to a lot of jazz critics. Some of them are a bit older. Well, they are my age. But a lot of them are disillusioned. They don't believe there is any good jazz being made anymore. They seem stuck in the past to me. They need to open their minds a bit. Well, that's not our problem. Let's move on.

The Asaf Sirkis Trio (abetted here by special guest keyboardist Gary Husband) is damned good, and play exciting music that falls somewhere between the rungs of progressive jazz and fusion. The band is heavy on distinctive arpeggios, spatial anomalies and interesting melodies. I wouldn't call this a jam band because its product is jazzier. But that spirit of following a groove does seem to live in the music.

"Stoned Bird" begins with a circular arpeggio punctuated by some well-placed strikes from drummer and leader Sirkis. The tune settles down to become a reflective soundscape. Bassist Yaron Stavi plays a pointed solo. Guitarist Spiliotopoulis (promise me, Tassos, you will shorten your surname when you hit it big!) adds some cutting blues lines as Sirkis kicks ass behind him. Spiliotopoulis then goes insane playing through a ring-modulator. This is a very ugly sound. But when used right, it can be quite dramatic. The song fades away ready to be listened to again with a touch of the replay button.

September 30, 2008 · 0 comments

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Rachael Price: Serenade in Blue

The 23-year-old Rachael Price is one of the best young jazz singers around, and thanks to the encouragement and support of T.S. Monk, Nnenna Freelon and Nancy Wilson, has started gaining the recognition her talent deserves. On The Good Hours, Price applies her powerful but flexible voice to a program of standards, and exhibits both an assured maturity and interpretive skills that are not commonly seen in someone so young. You can't just casually say, in her case, that "the potential is there" – some minor polishing is probably all she needs at this point.

"Serenade in Blue" is one of Price's finest performances on this CD. Thanks to her seemingly perfect pitch, artfully sustained notes and gorgeous vibrato, Price conquers this tricky theme in graceful and captivating fashion. She displays a range of attack that extends from a purring, silky smoothness, to a hard-edged brassiness, and handles the jaunty, backbeated midsection with authority. Pianist Wolf's sparse, pensive intro, and bluesy solo with its darting arpeggios, contribute notably to the success of this highly recommended track. Price may be a star about to be born.

September 29, 2008 · 0 comments

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Jack Broad: Current

The number of young jazz guitarists directly influenced by either Charlie Christian or Wes Montgomery is dwindling. Nowadays, the main guitar influences are Metheny, Scofield, Frisell, Abercrombie, and Rosenwinkel. Jack Broad describes the music on his Current CD as "guitar-oriented, electronic, modern jazz/fusion." The recording is self-produced, to say the least, with "all songs composed, programmed, performed, recorded and mixed by Jack Broad." He did not, however, do the mastering or take the photos. Despite that, this impressive debut will be much appreciated by lovers of contemporary jazz guitar, in all its many guises.

"Current" contains a Metheny-like circular theme and an assertive Broad solo that most recalls Rosenwinkel in terms of structure, ideas, clean lines and ringing tone. Broad's sure technique extends beyond his proficient guitar playing. The seamless electronic keyboard, bass and drum tracks that he programmed and mixed are very engaging and complement his guitar work perfectly. Ethereal voices are effectively layered in at times as well. Elsewhere on the CD, Broad shows that he can rock out with the best of them and create more dissonant, highly provocative soundscapes, but on this title track he gives us an overview of his basic stylistic foundations, from which the possibilities are endless.

September 29, 2008 · 2 comments

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Phil Woods: Adiós Nonino

As prolific a recording artist as Phil Woods has been, many listeners may have missed his moving tribute CD to New Tango innovator Astor Piazzolla and the legendary Brazilian singer Elis Regina. Then again, some of Woods's more insular bebop fans may have looked upon this project as an oddity and simply passed it by. The only odd thing about it, however, is that Woods played clarinet exclusively on the Piazzolla tunes, and alto sax only on the Brazilian numbers dedicated to Regina. Also, with the prominent aid of Friedlander's cello, Woods emphasized the lyrical beauty of Astor's compositions in lieu of extended improvisations.

The famous "Adiós Nonino" was written by Piazzolla in 1959 shortly after the passing of his father, Vicente, who was affectionately known as Nonino. Piazzolla recorded it a year later with his very first New Tango Quintet. Woods's elegant clarinet sound graces Piazzolla's legato lament, touchingly enhanced by Friedlander's counterlines and Finck's resonant bass notes, as the three expressively delineate the piece's verse/chorus structure. Charlap, the lone soloist, contributes a delicately struck, understated gem. Woods then reverently articulates the main theme a final time. Woods first met Piazzolla in 1956, and some 40 years later created this very stylish salute to him.

September 29, 2008 · 0 comments

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Renee Rosnes: Black Holes

In 1997, two months after participating in this session, Chris Potter recorded his breakthrough CD Unspoken. Christian McBride was perhaps the most in-demand young bassist of the '90's. And Jack DeJohnette was – well, simply the one-of-a-kind Jack DeJohnette. So Renee Rosnes had quite a quartet at her beck and call for what was to be the fifth of her nine Blue Note releases over a reputation-establishing 13 years. A gifted composer and riveting pianist, and a current (and founding) member of the much- praised S.F. Jazz Collective, Rosnes gives us in "Black Holes" a shining example of her talents.

The track opens with an uneasy ostinato by Rosnes that establishes a tension that Potter extends through his reading of the swirling, fanfare-like theme. Rosnes's driven solo is impelled by the relentless support of McBride and DeJohnette. The pianist's captivating modal excursion maintains a persistent rhythmic flow as she executes spiraling, complex phrases and runs. The ostinato's return bridges Potter's subsequent statement. His brusque tone suits his dense note clusters and wailing, sometimes dissonance-inflected exclamations. Rosnes, McBride and DeJohnette inspire him with the headlong insistence of their locked-in, swelling groove. A more relaxed variation of the previous ostinato is utilized for the closing interlude, over which DeJohnette responds with some light-touched, adroit stick work.

September 29, 2008 · 0 comments

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Donna Lee Saxophone Quartet: Four To Go

The Croatia-based Donna Lee Saxophone Quartet (DLSQ) was formed in 1999 by altoists Zdenko Ivanušić and Andrej Henigman, and has had the same personnel since 2001. While they have been known to play charts of their predecessors the World Saxophone Quartet and the 29th Street Saxophone Quartet, over time they have developed their own distinctive identity and sound.

On this follow-up to their first CD, Four Odd, it becomes apparent that baritonist Suša's role is just as important to the DLSQ's overall success as were those of Hamiet Bluiett and Jim Hartog, respectively, to the aforementioned a cappella sax quartets – providing essential basslines and rhythms. Ivanušić is the DLSQ's strongest soloist and main composer, a vibrant player heard at his best on his own infectious "Four to Go." Suša's winding bassline leads to Ivanušić's articulation of the prancing theme. A catchy vamp by the two altos and tenor serves as the bridge. Ivanušić's stop-and-start solo leaves space for an accompanying line by the other saxophonists to take the forefront, as his velvety tone accentuates his intricate and lively post-bop runs. After Ivanušić revisits the theme, with the contrapuntal backing of his bandmates, the vamp/bridge creates a perfect resolution. There is an easeful mastery at work here that simply must be heard.

September 29, 2008 · 0 comments

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Roger Kellaway (featuring Stefon Harris): The Nearness of You

When a jazz pianist adds vibes and guitar to the band, comparisons with George Shearing will inevitably come to mind. But there are several strong individuals in this band, so there is little risk of Shearing redux on this 2006 recording from the Jazz Standard. Perhaps the biggest surprise here is Stefon Harris, who plays in a very tasty and traditional style. During the first few bars of the melody statement, I wondered whether this ensemble would find the right groove, but by the time we get to Harris's fine solo, the group's cohesion is admirable. Without a drummer on hand, the music sounds very exposed, but the players seem to take delight in a setting that allows them to bring the dynamic level down to a whisper. Russell Malone plays very little here, but everything he adds is premier cru. Kellaway shows off his pristine touch on his solo, but I especially like the way he comps behind Harris. Clearly chamber jazz is still alive and well in the new millennium.

September 29, 2008 · 0 comments

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Lynne Arriale: Tones For Joan's Bones

Since she won the 1993 International Jazz Piano Competition, Lynne Arriale's recordings have consistently impressed due to her versatile style, as well as by their diverse repertoires and imaginative arrangements. On Inspiration alone, her tight trio interprets tunes by Bernstein, Ellington, Lennon/McCartney, Bacharach, Jarrett, Corea, Carmichael, and Ibrahim. According to our invaluable Encyclopedia of Jazz Musicians, this CD was named among the top six jazz CDs of 2002 by The New Yorker magazine.

Arriale approaches Chick Corea's "Tones for Joan's Bones" with the same zest as its composer, while not sounding particularly like him. She begins reflectively, with gratifying commentary by both Anderson and Davis, and only a few more vigorous piano chords hint at what is to come. When Arriale accelerates the tempo, the trio takes off in lock step. The pianist's phrases ring out with much emotion and urgency, and her technically gifted attack can only be described as controlled spontaneity. Anderson follows with a lyrical solo played with a pulsating tone. Davis's concise drum spot exhibits his refined methodology. The swirling energy of the out chorus, after Arriale's theme restatement, unfortunately evolves into a fadeout. This performance overall is closer in spirit and execution to Bill Evans than to Chick Corea, but exudes the fresh inventiveness that Arriale brings to all her efforts.

September 29, 2008 · 0 comments

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Esbjörn Svensson Trio: Still

My advance copy of this CD, the final studio project by the late Esbjörn Svensson, lists the instruments as piano, bass and drums. Yet the music on this track, and throughout the Leucocyte CD, is drenched in electronics. Svensson works here amidst a jungle of gurgles, buzzes, zings, beeps, rumbles and other assorted sounds. On top of this, a wistful, elegiac piano part eventually enters, and moves ahead with slow, stately precision. The piece follows a strict tempo, but if the beats were any farther apart, you would need to send out signal flares so one bar wouldn't get lost from the next. At times, the trio's work here reminds me of some of electro-acoustic jazz coming from the iconoclastic Erstwhile label. Yet the piano part itself is almost a New Age parody, and its juxtaposition against the electronic house of mirrors is peculiar. Imagine someone tinkling at the ivories in the parlor while downed power lines are sizzling across the carpet, and you may get some idea of the unsettling sensibility of "Still." We will now never know where this surprising phase in Svensson's career might have led. But the music on Leucocyte suggests that this artist was focused on forging ahead into new and untamed musical territory.

September 29, 2008 · 0 comments

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Arturo O'Farrill & Claudia Acuna: Moondance

This version of "Moondance" retains the spirit of the original song while employing decidedly un-Morrison arrangements. Beginning with a sprightly acoustic guitar waltz said to be inspired by the Venezuelan genre of Joropo, the listener can't be faulted for thinking that maybe the song has been mislabeled. This is "Moondance"? Well, Claudia Acuna's crystalline voice comes in, fitting the expected melody perfectly in its place. Arturo O'Farrill lifts the end of the chorus with some ascending piano figures that introduce the middle section, which seems to be Coltrane-inspired (the liner notes confirm this). Acuna's voice is then accented by its lone pairing with some simple percussion before the group heads again back into the chorus and conclusion. An exhilarating twist on the Morrison classic.

September 28, 2008 · 0 comments

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Jonathan Voltzok: Shawnuff'

It would be a huge mistake to try to one-up Diz & Bird. Thankfully, most jazz musicians have a lot more sense than that. On "Shawnuff'," Jonathan Voltzok pays tribute to the Gillespie/Parker classic "Shaw 'Nuff" by (aside from slightly altering its name) taking those incredible unison lines and rendering them with trombones. Slide Hampton, having several Gillespie-related tribute records on his résumé, pushes Voltzok into the 'bone stratosphere. Voltzok's rhythm section adds to the action, particularly pianist Aaron Goldberg, who comps with abandon and tosses in some great accents just when the horns are changing direction. It's says a lot about a composition when, after all these years, musicians can unearth new gems from such well-trod ground.

September 28, 2008 · 0 comments

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Randy Klein: Process

The modern stereotype, thrown down by Miles Davis, is that "Simply ain't easy." True enough. This is why I take great pleasure in improvisations such as Randy Klein's "Process." Based at the start on a simple 4-chord ostinato, Klein pushes, pulls, tugs and bends those chords, extracting as much musical interest out of them as he can muster. You can hear the story being told as those chords give up their points of interest. My ears want to hear the hopefulness of the dawn, but Klein brings in just a hint of discord and chaos, making me lean toward a sadder event.

September 28, 2008 · 0 comments

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Chico Hamilton: Ain't Nobody Calling Me

One listen to this composition and I was lost in a momentary reverie, back to when "fusion" wasn't a dirty word. Monster fusion bassist Matthew Garrison does more than anchor this trio, he brings back the spirit of Jaco Pastorius and drives this trio hard. Sure, leader Hamilton holds everything together with some incredibly detailed snare work, but it's Garrison who alternately lays down the funk one minute (giving guitarist Cary DeNigris room to solo) while taking blistering bass solos the next. "Bass solos?!", you might be thinking. Yes. They're tasty, nutritious, and good for you!

September 28, 2008 · 0 comments

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Rachael Price: Mood Indigo

So we're sitting at opposite ends of the kitchen table, me and TheWife. There's a large (but recently shrinking) pile of unopened review material sitting between us. I pop one fresh CD into my laptop and give bits and pieces of it a secret listen (earbuds can save a marriage, I tell you).

While I'm reading the liner notes, "that" look passes over TheWife's face. She has apparently noticed the photo of Rachael Price on the back of the digipack. So as to dissuade the notion that I'm in this purely for the pretty faces, I unplug the my earphones and let the voice drift into the room. Yes, she had to admit that there's definitely something going on there.

And so there is. While I don't normally lean toward being a skeptic, it goes without saying that maybe the jazz world doesn't need another take on "Mood Indigo." No, it needs this one. She might be 23 years old, but her voice goes far, far beyond that. With echoes of both Abbey Lincoln and (gulp!) Amy Winehouse, I was just mesmerized.

September 28, 2008 · 0 comments

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Nico Muhly: Mothertongue Pt. 1: Archive

OK, let's get this out of the way: this piece is not jazz. It doesn't pretend to be. I chose it because it had the same effect on my ears that many great jazz compositions have had: I sat up and thought, "Why, what the hell is that?!"

Composer/pianist Nico Muhly, who has worked with both Bjork and Philip Glass, takes language and the human voice and turns them into something...else. Sung by mezzo-soprano Abigail Fisher, words fly by at the speed of light. Vaguely reminiscent of the Glass compositions Einstein on the Beach and Music with Changing Parts, "Mothertongue" employs simple language fragments (including the alphabet and spoken street addresses) as source material around which Muhly wraps orchestration, gorgeous harp, and layers of deeply buzzing synthesizer. The effect is otherworldly yet somehow drenched with emotion.

September 28, 2008 · 0 comments

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Cathy Rocco: You're Gonna Hear From Me

"You're Gonna Hear From Me" is a classic canticle to emerging talent, one of the few memorable by- products of Robert Mulligan's 1965 film Inside Daisy Clover. It has become a fixture of straight-ahead jazz, recorded by Rosemary Clooney, Frank Sinatra, Bill Evans and so many others. Cathy Rocco adds her powerful voice to the list, fronting a swingin' rhythm section in a live session beautifully captured by mainstream crusader George Klabin, president of Resonance Records. On this outing Rocco proves that, even in the strongest mainstream currents, she can definitely paddle her own canoe.

Although Rocco is often compared to Nancy Wilson, I hear a bit of Shirley Bassey coloration in her voice as well. But make no mistake: this is a jazz singer, pure and simple, whose phrasing conjures images of wailing bebop trumpets and shout choruses on a 52nd Street Saturday night. Her sidemen deliver sizzling support, with some edgy soloing by Michael Higgins and Tamir Hendelman. Sadly, this is among the last recorded performances of bassist Dave Carpenter, who passed away in 2008.

Here is one singer who doesn't need a big band – those pipes come with their own horn section – brassy, sassy and infinitely classy. You're gonna hear a lot more from Cathy Rocco.

September 28, 2008 · 17 comments

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Oscar Peterson: Things Ain't What They Used to Be

Miles Davis once famously suggested that Oscar Peterson sounded like he had to learn how to play the blues. To which I reply: dang, he certainly learned 'em. There are flashier blues by Peterson available on the marketplace—for example, check out "Blues Etude" if you want fireworks. But this version of "Things Ain't What They Used to Be" shows that this pianist could also play a more subdued blues. This is Oscar in a Basie vein, just strutting over the changes. Bassist Ray Brown does not solo, but you will be forgiven if you find yourself focusing on his walking lines, as reliable as Greenwich Mean Time, and much, much hipper. The piano trio has changed a lot since this band recorded Night Train, but this music is timeless.

September 27, 2008 · 0 comments

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Dave Holland: The Sum of All Parts

The CD is called Pass It On, and this opening track certainly lives up to the title. The song spreads like a virus through the band, passed on from musician to musician. Eric Harland opens with a drum groove that entices Eubanks into a dialogue. For almost two minutes, this track continues as a duet, sounding as spontaneous as a practice-room amusement. Then sax and trumpet enter the mix, and the music settles into a glorious vamp. Mulgrew Miller now joins on piano, and finally the bandleader shows up on the premises. But he decides to join 'em, not fight 'em. Holland makes up for his late arrival by contributing a fine solo, which again brings Eubanks back into the fold. The constantly shifting textures here are quite effective, and the whole is definitely more than "the sum of all parts."

September 27, 2008 · 0 comments

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John McLaughlin: Desire and the Comforter

"The Unknown Dissident" and "Desire and the Comforter" are the best two cuts from Electric Dreams. "Desire and the Comforter" is a jazz-funk number pretending to be world jazz. A cymbal-induced trance and the sliding notes of a fretless electric bass begin the piece. McLaughlin and violinist Shankar then introduce the melody with a joyful bombast. The song has the semi-Latin and Indian flavors that marked this band's music, and also enjoys the full rhythmic arsenal drummer Tony Smith and percussionist Alyrio could supply. Fernando Saunders's bass helps on the rhythm, and his funky lines make the tune jump a bit. The piece employs several disparate themes, all upwardly mobile. McLaughlin, violinist Shankar and synthesizer player Stu Goldberg have fun trading before the music climbs a few more rungs toward pleasure. The players make their feelings known with some vocal cheerleading. This music is infectious and uplifting. In contrast to most of Mahavishnu and Shakti, naturally the band's main influences, the guys don't take themselves too seriously here. You get the sense that as the song ends the band is going to jump off the stage and share a few drinks and conversation with you.

September 26, 2008 · 0 comments

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John McLaughlin: Electric Dreams/Electric Sighs

"Electric Dreams/Electric Sighs" finds John McLaughlin's One Truth Band at its best. McLaughlin opens the song with an absolutely gorgeous demonstration of melodic control. The theme is simultaneously Spanish and Indian. He is playing a Gibson electric outfitted with a scalloped fretboard that allowed him to control all means of expression through the creative bending of strings. But he also got a unique and lovely sound out of that guitar. It is crisp and clear but very slightly muffled, as if his notes were recorded into a pail and then dumped out. The rhythm steadily builds tension as McLaughlin solos. Violinist L. Shankar adds shading. McLaughlin then brings out a banjo and plays it like McLaughlin would play a guitar. That is an unusual sound. The band then punches up the number even more with staccato embellishments. The One Truth Band was a much more rhythmic unit than any of McLaughlin's previous bands. When that superior element is combined with one of the best tunes McLaughlin has written, you get something really special.

September 26, 2008 · 0 comments

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John McLaughlin: Miles Davis

"Miles Davis" is one of two songs on Electric Dreams meant to honor Miles. The other, "The Dark Prince," actually debuted live at the Havana Jam Jazz Festival as performed by the Trio of Doom, which featured McLaughlin, Tony Williams and Jaco Pastorius. Though "Miles Davis" possesses an interesting rhythmic energy and some engaging elements, it is not up to the general standards of McLaughlin's better compositions. It seems to stand in place. Of course you will hear some great guitar, and Goldberg kicks it on keyboards. You will also dig some off-the-hook riffs. But without that forward movement you will not feel that you have been transported anywhere special.

September 26, 2008 · 0 comments

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John McLaughlin: Guardian Angels

"Guardian Angels" is only 52 seconds long, but is important in the John McLaughlin chronology. It opens this album, ushering in the sound of his new group, The One Truth Band. The theme is one step short of sinister. It is played acoustically, as McLaughlin once again introduces a unique sideways arpeggio. However, once the arpeggio is dispensed with, McLaughlin and violinist L. Shankar engage in a tête-à-tête that features a sound somewhat reminiscent of McLaughlin's former band Shakti. This signaled that McLaughlin's new band, featuring L. Shankar on electric violin, would be nodding more overtly to Indian music than had been previously the case in electric fusion, including John's own Mahavishnu Orchestra. Other differences were to become obvious as the record played on. But out of the chute, you knew the direction was changing.

McLaughlin would later flesh out "Guardian Angels" and create a longer, fuller piece from it. It became a popular staple of the Guitar Trio featuring McLaughlin, Paco De Lucia and Al Di Meola, and would appear on the group's first record Friday Night in San Francisco, although for reasons unknown the "s" was dropped from the song title for that album.

September 26, 2008 · 0 comments

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Mahavishnu Orchestra: Wings of Karma

The opening measures of "Wings of Karma" are presented by the London Symphony Orchestra only. The music is deep and somewhat foreboding. The arrangement is heavily into drama as strings, horns and kettle drums portend dire consequences. Then the electricity is turned on. McLaughlin leads a charge that carries both the central Mahavishnu band and the larger orchestra up a hill from which they joyously roll down the other side. All is not doom and gloom. McLaughlin and Ponty wail away in unison as the LSO finds an aggressive riff-jammed groove. McLaughlin plays a nasty solo midway through that cuts through the orchestra like a jagged knife. Violinist Ponty plays his own part that takes wing. In many ways, "Wings of Karma" may be the most accessible tune on the album. The band and the orchestra really mesh well. Economics prevented McLaughlin from ever taking the LSO on the road with him, and Apocalypse was not met with much critical acclaim at the time. But there are certain parts of this tune when the dream that McLaughlin had for this music appears close to coming true. (This goal is fulfilled on the less accessible but more triumphant "Hymn to Him" which follows this cut on the album). At the very least McLaughlin showed that fusion could encompass more than just jazz and rock. Next you add classical music and then eventually the music of other cultures to develop a true fusion.

September 26, 2008 · 0 comments

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Mahavishnu Orchestra: Smile of the Beyond

In the jazz-fusion world, vocals are always a tricky proposition. Should they be jazz-like or rock-like? How do you find the in-between? Rarely are vocals up to the standards of the superior musicians playing behind them. Return to Forever's Flora Purim had the formula down, but even she was part of the more acoustic version of that band. I think by acclamation the worst fusion vocalist of all time was Tony Williams. Long story short: there has been a paucity of effective fusion singers.

When John McLaughlin put together the second and larger version of the Mahavishnu Orchestra, he went an entirely different route by bringing singer and keyboardist Gayle Moran aboard. Moran, who was recommended to John by Chick Corea, had an operatic range and a Broadway background. She was certainly not a typical jazz or rock singer. But she was the perfect vocalist for the role McLaughlin had envisioned. Her ethereal sound gave the music a spiritual bent. I could describe her singing as powerfully angelic. Her voice was distinct enough to sound pleasant over the horns and strings of a symphony orchestra and penetrating enough, in a contrasting way, to sound good over the heavy electronics that McLaughlin and Jean Luc-Ponty were displaying in the band. That being said, Moran is still somewhat of a controversial voice in fusion history. The argument isn't whether she was a good singer. I think the universal answer to that is that she clearly was. Rather, it was more a question of whether she was right for the material she was asked to perform. This would become an even greater issue after she left Mahavishnu and joined her (by then) husband Chick Corea's later Return to Forever band. The fact that there is still controversy about her contribution to the genre is evidence that she did contribute.

"Smile of the Beyond" is a cosmic spiritual. Of all of the Mahavishnu tunes over the years, it contains the most dominant vocals. Moran is heard in the song's extended opening over a spare background. Her upper-register voice reverberates around a cloudless sky. It is beautiful and moving. The opening melody is presented at a snail's pace and continues for one or two minutes too long. Finally the electric core of the Mahavishnu Orchestra enters and destroys the serene setting Moran has established. "Smile of the Beyond" is now a kick-ass fusion explosion. It's as if, after the angel call, Armageddon arrives. The high-energy synergy of the band has never been more evident than on this performance. This is music taken to the stratosphere. At song's end, Moran returns in full glory to reassure that the answers still lay out there in the cosmos.

So why is this reviewer giving a 94-point jazz.com performance only an 88 rating? It is not Gayle Moran's fault, but I think McLaughlin gave the vocal section one or two more choruses than it needed. The growing momentum of the tune is somewhat stilted by this. You take away a minute of the vocal section and "Smile of the Beyond" would have been better.

September 26, 2008 · 0 comments

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Mahavishnu Orchestra: Power of Love

Apocalypse marked the debut of John McLaughlin's second Mahavishnu Orchestra. McLaughlin was really thinking big in those days. London Symphony Orchestra big. Classical conductor Michael Tilson Thomas big. And finally, Beatles big – by employing The Beatles' sound engineer Geoffrey Emerick and famed Beatles producer George Martin.

Martin faced an enormous recording task. He had to separate the LSO and the Mahavishnu into different studios to isolate their dramatic difference in dynamics. Indeed, drummer Michael Walden was so powerful he had to be totally isolated. Martin may have been the first to use video conferencing in a recording studio, placing monitors in adjacent rooms so the musicians could see each other while recording. To this day, in almost every interview I read, Martin cites this album as one of his greatest accomplishments.

The beautiful "Power of Love," which opens Apocalypse, is the album's least electric and lowest-volume tune. Michael Tilson Thomas himself plays a sparing piano, leading me to suggest a good trivia question: name the 4 keyboard players who recorded with the Mahavishnu Orchestra. An acoustic McLaughlin plays the delicate melody over the wash of stringed orchestral strains. Jean-Luc Ponty's electric violin enters to mimic McLaughlin's lines. Soon Ponty veers off into his own complementary riff. The music floats above the clouds as McLaughlin and Ponty fade out in unison. The sound is big and delicate at the same time. There is beauty to be found in opposing tensions.

September 25, 2008 · 0 comments

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Ornette Coleman: Airborne

"Airborne" is in many ways what listeners in the late '60s had come to expect from Ornette Coleman: a tuneful, sequentially ascending major-key melody that leads into a fast, swinging solo section based on an ambiguous tonality. What's different from his past music can be attributed to his choice of sidemen. Elvin Jones is far more aggressive than previous Coleman drummers. During Ornette's solo, Jones and the saxophonist are clearly equals—improvising in tandem, sharing the foreground while bassist Jimmy Garrison alternately breaks up the time and anchors the pulse. Tenor saxophonist Dewey Redman is a muscular soloist, his tone caustic and often overtone-laden; his exalted level of creativity and energy is on the same plane as the rhythm section's.

Love Call and its companion album, New York Is Now!, have often gotten short shrift from critics who can't seem to wrap their ears around the stylistic dissonance between these and earlier Coleman groups. Approached without preconceptions, however, it's hard to understand how this can be considered markedly inferior to any but a few items in Ornette's discography.

September 24, 2008 · 0 comments

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Ornette Coleman: The Garden of Souls

It seems almost an article of faith among critics that New York Is Now! and Love Call are among Ornette Coleman's lesser works; more than one scribe has panned them outright. Listening with fresh ears, it's hard to understand why. Both contain marvelous music. As the first track of New York Is Now!, "The Garden of Souls" introduced listeners to Ornette's latest foil, Dewey Redman—a tenor saxophonist with a rasping tone and soulful manner, whose oblique solos complemented and shadowed Coleman's. Redman's tenor fills out the ensemble, his husky tone burnishing the balladic theme statement, his focused improvisation adding more physicality to Ornette's concept.

Most of the criticism heaped on this music is aimed at bassist Jimmy Garrison, and, to a lesser extent, drummer Elvin Jones, whose main crime seems to be that they weren't Charlie Haden and Ed Blackwell. Garrison tends to engage Jones more directly than he does Ornette, making him, one supposes, more conventional than some of his predecessors with Coleman—David Izenson and Scott LaFaro, especially. But Garrison did the same thing when he and Jones backed John Coltrane. Elvin conversed with Coltrane; Garrison held down the bottom. That also happens here to good effect: Elvin listens closely to Ornette, mostly following the saxophonist's meandering whims, while Garrison listens for Elvin's cues and responds accordingly.

Thanks mostly to his choice of sidemen, the mood of the performance is darker than is typical for Ornette, but that just adds to its uniqueness. Garrison and Jones were different from Ornette's prior accompanists, all right. That doesn't make them bad or even unsuitable. Vive la difference. This is top-notch stuff.

September 24, 2008 · 0 comments

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Bill Evans: A Face Without a Name

I generally prefer Evans's earlier trio work over the projects he pursued during his longstanding collaboration with bassist Eddie Gomez. Evans often struck me as too comfortable alongside Gomez, and during the 1970s he tended to play the same songs over and over again in his concerts and club performances. Yet the best of the music with Gomez demands our attention, and it is hard to find any Evans recording from this period that does not reward close listening. The pianist continued to advance his craft during these years, but in small and subtle degrees. The way he would anticipate a chord change before the bar or construct a melodic line revealed a penetrating mind that continued to grapple with the music at hands, even if it was a pop standard he had played hundreds of times before. Here he tackles a little known composition by Claus Ogerman with an unusual tempo change in the middle of the form (something that had always attracted Evans—check out, for example, his recordings of Earl Zindars's "How My Heart Sings" for a similar example). Evans is in fine form here, and even though the track stretches out to almost six minutes, one could easily imagine him continuing for several more choruses. It is interesting to note that one of Evans's other standout recordings from the era also comes in the context of a Claus Ogerman composition, the dramatic and sadly forgotten Symbiosis.

September 24, 2008 · 0 comments

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Jackie McLean: Old Gospel

In the 1960s, it seemed as if every Blue Note release had to have at least one grooving boogaloo-style tune—the better, one supposes, to garner radio airplay. On New and Old Gospel, "Old Gospel" fills the bill. What separates this from the average track of its ilk is the presence of Ornette Coleman, who joined Jackie McLean's quartet for this session. Ornette was years away from using dance rhythms in his own music. Indeed, at the time of this recording he was even moving away from conventional swing. Add the fact that McLean himself was venturing further and further "out," and you have something quite unusual.

The tune begins with an ordinary gospel piano vamp leading into a riff-ish head played in octaves by the horns. The solo section is built on a modal vamp. First up is McLean, who takes a bluesy, melodic tack, playing relative few notes but working up a sweat all the same. Ornette's trumpet solo follows. It's based mostly on a Bb minor scale, while the rhythm section plays in Db major: the notes are the same, but the tonal center is different, giving the solo a bi-tonal vibe. The rhythm section cooks mightily, especially drummer Billy Higgins, who displays strong gospel roots. This is a fun, smart track, showing a side of Ornette that wasn't much in evidence in those days. Could this session be seen as a first step toward Ornette's later dance-based music? Hmmm, I wonder . . .

September 23, 2008 · 0 comments

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Jackie McLean: Lifeline

Jackie McLean was a man in search of himself when he came under the influence of Ornette Coleman, so it's no surprise that Ornette joined him on New And Old Gospel. In the 1950s, McLean was a good if not great Charlie Parker-inspired alto saxophonist. In the '60s, he came into his own by making such leftward-leaning music as this.

"Lifeline" is actually four tunes in one: a medley, each song flowing seamlessly into the next. Ornette plays trumpet exclusively here, and he's even more harmonically unhinged than usual, seldom acknowledging even obliquely the tonal centers implied by the rhythm section. He experiments with varying timbre and attack, while engaging McLean closely in the collectively improvised passages. On the up-tempo opening, Ornette plays against the pulse. His textural scrawl is in stark contrast to the burning eighth-note swing feel. Ornette's trumpet style is different, and despite the occasional misstep, it works, largely because McLean puts ego aside and mediates the divergence between the rhythm section's more conventional modal-jazz style and Coleman's utterly free approach. McLean conscientiously plays phrases that help connect Coleman's lines to the whole. His solos lack boppish ornamentation, but are cliché-free, thematically derived inventions delivered with searing intensity. The rhythm section does a good job with the looser structures, especially drummer Billy Higgins, who after all had ample experience playing with Ornette. Pianist Lamont Johnson shines as well, displaying a lovely touch in the rubato sections and a strong reactive sense at quick tempos.

Although he has far greater facility on his instrument than Ornette has on his, McLean largely defers to his guest. His willingness to submit to Ornette's unorthodox strengths results in some fascinating music.

September 23, 2008 · 0 comments

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Randy Klein: The Calm

If you head a record label, as Randy Klein does Jazzheads, your own album better be good. Luckily for jazz fans and Klein's own artist roster, it is. I could just imagine how awkward it would be if otherwise.

Reading through Klein's bio it appears he has spent a majority of his time behind the scenes or at least in less visible performance situations. But he has had a long and successful music career. He has some regional Emmy awards at home for his efforts. His playing has appeared on a couple of gold records as well.

I would say the same thing about "The Calm" as I would about any of the other 11 cuts on this fine solo piano album. The music is the artist's deep introspection reflected on the surface of a serene pond. He makes no effort to wow you with his chops, even though they are there in spades. So you won't hear any keyboard tricks or speed demon wizardry that would muddy the water. Calm is not the same as smooth, which this isn't in any way. The music presented is effective storytelling full of worthwhile tangents. It is presented with depth and meaning.

September 23, 2008 · 0 comments

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Jeff Beck: Sophie

Master guitarist Jeff Beck has been much more an interpretive player than he has ever been composer. In a way he is the music equivalent of Germany-based BASF, the world's largest chemical company. That corporation's lengthy ad slogan has been playing on American television for years. "We don't make a lot of the products you buy. We make a lot of the products you buy better." In a nutshell that is what Jeff Beck has done with tunes from the Beatles, Stevie Wonder, Jan Hammer, musician/producer Narada Michael Walden and others. So it is special when Beck finds the right composer. In the mid-'70s, arguably Beck's most musically and commercially productive years, it was a godsend that he hooked up with writers Max Middleton, Jan Hammer and Narada Michael Walden. They helped provide the platform for Beck to create one of the signature sounds of the fusion movement.

Walden is the composer of "Sophie." The tune opens with a contemplative slow panning keyboard and fuzzy chorused guitar. Then it kicks into gear. Walden, one of the great fusion drummers, propels the piece. Bassist Bascomb keeps it grounded so it doesn't fly too far away from its steel tether. Beck, using all of his tools, and synthesizer player Middleton cavort wildly. At times doubling up on infectious riff after infectious riff and at other times calling and responding, the pair go into warp-drive. The music reaches its saturation level before ending with just a hint of the opening theme. "Sophie" is a fusion classic.

During this time Beck outsold bands like the Mahavishnu Orchestra even though he was openly copying them to a great degree. To his credit he has always admitted this. But Beck managed to find a groove that was more accessible to rock fans than the top fusion groups ever did. And he was able to do that without selling out one iota. Of course, having ex-Mahavishnu players write some of your music probably didn't hurt.

September 23, 2008 · 2 comments

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McCoy Tyner & John Scofield: Mr. P.C.

McCoy Tyner has often returned to songs from his stint in the legendary John Coltrane Quartet. However, this Coltrane composition, first featured on the 1959 Giant Steps project—not as a paean to political correctness, rather a dedication to bassist Paul Chambers—actually predates Tyner's time with the saxophonist (although it remained in the repertoire of the classic 1960s quartet with Tyner). A half century later, this sizzling minor blues still can pack a punch. Jack DeJohnette kicks things off with a solo drum intro of eight bars that sets a driving tone for the proceedings. Scofield is full of energy and highly inventive as he takes no fewer than twelve choruses, his lines getting more complex as his solo moves toward its climax. Tyner follows with a brilliant solo, his left and right hands trading sound fragments that rumble and growl over the fiery accompaniment of Carter and DeJohnette. Scofield jumps back into the fray—clearly his dozen previous choruses did not exhaust his thoughts on the subject of Mr. Paul Chambers, or at least his perspective on the minor blues. Ron Carter is given the briefest of solos before the final melody statement, but decides to keep on walking, which he does in a fashion that would make the original Mr. P.C. proud.

September 23, 2008 · 0 comments

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McCoy Tyner & Bill Frisell: Boubacar

The guitar-piano duo remains a fairly rare setting in jazz, despite the happy precedents of Evans-Hall and Metheny-Mehldau. Tyner plays with surprising restraint here, and lets Frisell take the lead in shaping the flow and sensibility of the performance. The pianist merely adds some gently rhapsodic touches behind the guitar melody. There are no solos here, but Frisell's composition has a bittersweet, poignant flavor, and the two artists present it with high drama.

September 23, 2008 · 0 comments

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Jeff Beck: Love Is Green

In this download age, the 5- to 10-sentence album reviews that appear in music magazines and on music web sites are of little help. I hope those of you reading this review have noticed by now that we jazz.com reviewers write about individual cuts and not entire albums. No one else does that. We believe this policy gives our readers a far better chance to delve into the underlying aspects of what makes great jazz great. We look at each performance with a laser beam. The Jazz.com review model is a far superior method save one aspect. We don't always see the forest. But not to worry – the wise among us will point out the trees.

A truly good album is more than a series of downloadable tunes. Technology is changing our listening habits drastically. But I still believe that an album should be listened to as a complete work of art. Plucking tunes out of context ignores the craft and value of song positioning. This is especially true for instrumental music. I have my own pet peeves about how most modern CDs have way too much music on them. (That will be a blog topic someday). But the pure act of setting time aside to listen to an album intently can be so much more rewarding than cherry-picking only the tunes you like. I grant you, sometimes that may be necessary. But juxtaposition is underrated.

I would grade "Love Is Green" about an 83 on the jazz.com scale if it appeared in the middle of Jeff Beck's mostly frenetic fusion classic Wired. It is a beautiful and brief cosmic ballad written by Mahavishnu II drummer Michael Walden, who effectively plays piano on the piece. Through the use of overdubs, Beck plays the sensitive melody on electric and acoustic guitars. It is a real treat to hear him unamplified. It is a lovely piece. "Lovely fusion" does not have to be oxymoronic.

However, at some point Jeff Beck or a trusted partner decided "Love Is Green" ought to be the final cut on the album. This was a brilliant stroke. The song acts as the perfect cool-down of a vigorous workout. So I add 8 points to his rating for proper song placement. Now you see some of the trees.

September 22, 2008 · 0 comments

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Jeff Beck: Freeway Jam

"Freeway Jam" could have easily been placed on Jeff Beck's more fusion-driven Wired album the next year and feel totally at home. Funk jazz-rock is what this tune is all about. In fact, its bassline and rhythm are quite similar to Michael Henderson's efforts on Miles Davis's seminal "Right Off" from A Tribute to Jack Johnson. Beck was ready to dive into the deep end of the pool. He is a master of the whammy bar, and this is one of those tunes you can't imagine without it. "Freeway Jam" was written by Max Middleton, who is an overlooked figure in fusion history. He often plays the melody along with Beck. They jell. "Freeway Jam" is one rollicking fusion number that should be in everyone's collection.

Reviewer's aside: Sometimes while writing, an instantaneous thought comes out of nowhere and I write it down. My comment about Max Middleton being overlooked is a perfect example. After I wrote that I started wondering why this has occurred. In this case, I believe the answer is clear. Once Jan Hammer and Jeff Beck recorded a live version of "Freeway Jam" together a couple of years later, people began to associate the tune with Hammer. I think to this day many fans believe Hammer wrote the piece. Now it is a sure thing that many other reasons exist for Middleton's relatively low profile, not the least being the fact he doesn't seem to have done much over the years. (I looked it up.) Remarkably, he released his first solo album in 2007! Fame is a fickle thing – especially if you want it to be.

September 22, 2008 · 0 comments

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Jeff Beck: Scatterbrain

Jeff Beck's fusion sound didn't hit full groove until his Wired album came out a year after Blow by Blow. Notably, that coincides with his musical partnership with Jan Hammer. Not every jazz-rocker agrees with me, though. Many claim Blow to Blow has always been the superior effort. There are some great tunes on Blow by Blow, especially the beautiful "Cause We've Ended As Lovers," but not all the tunes are fusion. A portion of the album is clear funk and nothing else. That's okay. But it isn't fusion. Still, Blow by Blow is not an album that should be kicked out of bed. It is fantastic.

The jazz-blues-boogie oriented "Scatterbrain" remains in Beck's live repertoire to this day, and for good reason. The tune's driving nature allows Beck to do some real stretching out. Keyboardist Middleton and Beck double-up on the frantic intro. Beck then goes ballistic with cutting blues riffs. I still don't understand how he gets that sound without using a pick! The rhythm section keeps things flying. Beck demonstrates his mastery over harmonics. No one sounds like him. Middleton plays a straight-ahead electric piano as synthesized strings enter. The theme comes back, leading in turn to a short ending section that is clearly a tribute to John McLaughlin. Boy, those were the days.

Point of information: In 2002, Beck held a special three-night event at London's Royal Festival Hall. Each night he welcomed special surprise guests. On the third night he welcomed McLaughlin. They jammed on two tunes including "Scatterbrain."

September 22, 2008 · 3 comments

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Bruno Raberg: Elegy

The ominous tones at the start of "Elegy" have an almost industrial quality, as if a metal grinder had been pressed against a rusty truss in an old abandoned warehouse. In fact, as the attack-less guitar forms glide in, with the bowed bass adding further sinister accents, it seems likely that the composition might remain in that echo-laden building. But when Chris Cheek's saxophones enter the story, things change: the angles soften, and the band in its entirety begins to follow and comment on the horn's romantic and pensive melody. Gone is the sense of doom, replaced by hope and beauty. It's a simple and elegant transformation.

September 22, 2008 · 0 comments

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Lafayette Gilchrist: Those Frowning Clowns

"Soul Progressin'" is an off-kilter funk/blues that will make you want to jump on the coffee table and just shake it. Gilchrist's piano intro is followed by Anthony Jenkins's loping bassline that sets up the real funk: the horns. They're naughty, they're tight, and they're ready to knock you over. When John Dierker's bass clarinet takes a solo (with Gilchrist comping beautifully), liftoff is achieved. As the composition progresses, horns come in from all sides, pushing the music's center of gravity back and forth. Somehow the group never loses track of the funk. Jenkins's bass solo catapults us back into one last visitation from that fearsome horn section. This needs to be played LOUD.

September 22, 2008 · 0 comments

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Henry Grimes Trio: Walk On

With Perry Robinson's sharp and angular horn lines, this tune is extremely evocative of early Ornette Coleman. This shouldn't be a surprise, given the fact that Grimes played with the likes of Don Cherry, Albert Ayler, Pharoah Sanders, Cecil Taylor, Archie Shepp, and Billy Higgins. None of this is to say that "Walk On" has nothing to give on its own. There are some breathtaking passages where the trio switches back and forth between full-on skronk (Robinson's extended technique is choice!) to a more standard swing. The elastic tempo changes, their arrival being very unpredictable, add a lot of energy. Throughout all of this, Grimes's bass never loses its footing. Really fun stuff here.

September 22, 2008 · 0 comments

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Giuseppi Logan: Tabla Suite

Who doesn't love a good musical tightrope walk? Giuseppi Logan's sinuous horn kicks off the event, Don Pullen rides with it, peeling off shards of piano madness that are soon joined by Eddie Gomez, playing his bass in a most unorthodox manner. Over all of this is Milford Graves's tabla furiously keeping pace and, for a short period, standing alone, until the entire quartet rises up to celebrate the cacophony. As the composition ends, Pullen's chords echo off into the distance, and we're left with a few lone tabla notes, leaving the impression that the centrifugal force of play had thrown the musicians clear of the song.

September 22, 2008 · 0 comments

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Milford Graves: Nothing

I have always had a thing for percussion music. I've also had loads of fun defending it as music. That's right, some folks cling so desperately to the harmony/rhythm/melody (read: Western) model of music that when an element is absent, even merely implied, they're sure that the sounds don't add up.

If you listen to what Milford Graves and Sunny Morgan are up to here, there is a wealth of interactions and textures to contemplate. From the first clipped hi-hat segment to the various call and response interludes, Graves and Morgan build loads of tension, dispersing it at will as they shift off in other directions (the bells over the gong a few minutes in are particularly nice).

Not music? C'mon, you're kidding, right?

September 22, 2008 · 0 comments

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Mathias Eick: The Door

The first minute or so of "The Door" finds Mathias Eick's band implying, then shaping, the composition's structure. Just as it fully crystallizes, thanks to Jon Balke's staccato piano echoes and Auden Erlien's melodic outlines, Eick steps in with his trumpet to complete the thoughts set up before him. With a sparseness and economy of presentation, Eick's music draws a fine line across the decades, connecting musics as disparate as Eberhard Weber and Miles Davis. The key idea, playing just the right notes, is held in stark relief as the tempo picks up and Balke supports Eick with a series of exhilarating chromatic runs. When that last trumpet note fades, you'll find yourself thinking that this was the quickest eight minutes you've ever experienced.

September 22, 2008 · 3 comments

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Carla Bruni: You Belong To Me

When you first hear Carla Bruni's very sensual voice, all full of air and promise, it's hard to not think back to Jane Birkin and Brigitte Bardot. Unfortunately, I also think of my first French vocal record: The Singing Nun. Ouch.

Happily, Bruni's spin of this classic takes just a hint of the romanticism of Jo Stafford's version and adds all manner of texture and sexy nuance. The sparse arrangement (love the Dobro!) accentuates the earthy qualities of her instrument nicely. When her voice comes close to breaking up, you can almost hear the insinuation that she just got out of bed.

Plus, she made me forget about The Singing Nun.

September 22, 2008 · 0 comments

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Bheki Mseleku: Mister Allard

The talented South African multi-instrumentalist Bheki Mseleku passed away in London on September 8, 2008, due to complications from diabetes. He was only 53 years of age. Star Seeding, arguably his best CD, should have resulted in what the title implied – the blossoming, if belated, of a major jazz artist – but this never came to pass, and he only recorded twice more after this 1995 session. While Mseleku's playing on these tracks is noticeably derivative, it is also highly skillful and passionate. At various times he sounds, on saxophone, like Stan Getz, Joe Henderson, Johnny Griffin or Charlie Rouse, while on piano like Herbie Hancock, McCoy Tyner or Monk.

For "Mister Allard" (named for co-producer Jean-Philippe Allard), overdubbed tenor sax joins Mseleku's piano, with his tenor singing the lyrical, dancing theme and sounding like an amalgam of Getz and Henderson. Mseleku's fluid piano solo is quite diverse, in a Hancock mode, and executed with a glistening touch. Buoyant phrasing, gliding single-note lines, and assertive left-hand accentuations highlight this elegant, self-contained improvisation. Mseleku's tenor then reprises the alluring melody, adding tastefully nuanced variations. Mseleku's polished musicianship will be sorely missed.

September 20, 2008 · 0 comments

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Freddie Hubbard: Lonely Town

Freddie Hubbard's first three CTI releases, Red Clay, Straight Life and First Light were probably his most successful ever commercially, and had great merit artistically as well. First Light won a 1972 Grammy Award, and was the first of his recordings to feature Don Sebesky's creative arrangements. If memory serves, the title track and "Uncle Albert/Admiral Halsey" got most of the jazz radio airplay, but "Lonely Town" – with Hubbard's exquisite trumpet work and Sebesky's superb arrangement – is a neglected classic. The thought occurs: how fascinating would collaborations between Sebesky/Miles Davis and Gil Evans/Hubbard have been?

"Lonely Town" is from Leonard Bernstein's 1940s Broadway musical On the Town, later made into a movie starring Gene Kelly. The strings/woodwinds intro is richly evocative. Carter's bassline ensues and introduces Hubbard's inspired reading of the wistful theme, backed by Wyands's sensitive comping, DeJohnette's brisk rhythms, and the orchestra's sympathetic fills. Hubbard's solo is aggressively lyrical, his lush tone elevating the effectiveness of his sinuous runs. Wyands, albeit on the now outdated-sounding electric piano, next contributes a short but appealing improvisation. Hubbard reappears to elaborate upon the melody, with the orchestra again in total harmony. The trumpeter's coda is Miles-like in its use of kissed and slurred notes. Sebesky has the last word, a refrain memorable for its succinct poignancy.

September 20, 2008 · 0 comments

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John Handy & Ali Akbar Khan: Ganesha's Jubilee Dance

The two albums recorded by John Handy and Ali Akbar Khan, Karuna Supreme (1975) and Rainbow (1980), are among the most successful fusions of jazz and Indian raga forms. Handy and Khan had been playing together periodically for several years before their first recording, which may help to explain Handy's relaxed and assured ability to adjust to the non-Western harmonic concepts, rhythms and tonalities of this challenging music, while still maintaining his individuality.

The 9-minute "Ganesha's Jubilee Dance," from Karuna Supreme, is inspired by Ganesha, the elephant-headed god who is the son of Shiva, the god of music, and is based on the raga called "Jhinjoti," meaning "vibrate your body." The joyful, skipping theme is played by Handy, who then soars into his first solo already in full flight. His distinctly boppish lines contrast with more Eastern-sounding tonal effects. After reasserting the theme, Khan solos, his nimble fingers creating delicate yet emphatic structures. Handy again states the theme, and his second improvisation then ventures into the upper register with a pinched timbre, before swooping down to the lower depths of his horn. From there, he repeats mesmerizing rhythmic patterns and finally adopts the complex rhythms being laid down by Hussain's tabla. Khan next delivers a more intense solo than his first, his phrasing more jazz-like in both nature and spirit. He and Hussain reach a stirring dual climax. Handy again mimics the tabla's beats in his closing statement, which includes some additional ecstatic runs. The theme is restated to satisfyingly complete the cycle.

September 20, 2008 · 0 comments

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Monty Alexander: My Mother's Eyes

Growing up on the island of Jamaica, Monty Alexander was exposed to the music of legendary guitarist Ernest Ranglin, with whom he later recorded. Over the years, Alexander has incorporated reggae, calypso and other Caribbean sounds into his performances. However, on the straight jazz side, Nat Cole was his main influence pianistically, and he has since shared Cole's fondness for the piano trio format. On Live at the Iridium, his trio explores many of his musical interests, but the track "My Mother's Eyes" is a prime example of his reverential approach to a lovely old (1929) ballad.

Alexander's stylistic versatility is on full display here. His opening unaccompanied journey through the theme is openly sentimental, with loads of big chords, sweeping arpeggios, and even a strum of the piano strings for added effect. When Shakur and Taylor enter to provide their impeccable support, the pianist's bluesy voicings now prevail, with tremolos galore. When the tempo is doubled, Alexander adds more boppish lines, as well as some resounding Erroll Garner-flavored chording. The tempo is accelerated again briefly, which only makes Alexander's return to the loping pace of his intro that much more dramatic, as he tenderly progresses to an unadorned and tranquil rest. Although glimpses of Garner, Cole, Oscar Peterson, Gene Harris and even George Shearing seem to arise during this performance, no one puts these influences together more seamlessly than Bernard Montgomery Alexander.

September 19, 2008 · 0 comments

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Miles Davis: Black Satin

Famed English arranger and cellist Paul Buckmaster teamed with Miles Davis for On The Corner in 1972 to introduce some innovative concepts of street funk by way of Stockhausen. Buckmaster's concepts were most closely followed for "Black Satin," which employed his script of multiple rhythms and heavy layering. In turn, the leader figured out how to carry out these ideas.

The Indian instrumentation that serves as both the prologue and epilogue provides an appealing exotic element among the random synth noises. In the middle, there's a funk beat comparable to James Brown's "Mother Popcorn" being defined by drummers, percussionists and handclappers that in itself is larger than most full bands. Miles's wah-wah trumpet competes with his conventional trumpet played an octave lower. Other sounds seem to drift in and out, the result of producer Teo Macero's heavy post-recording tape tinkering. At the center of it all is Henderson's unyielding bass loop.

Beautifully complex, mysterious and extremely funky, "Black Satin" is the last complete expression of Miles's genius in the studio.

September 19, 2008 · 0 comments

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Antonio Carlos Jobim: Brazil

There are many places to start with Ary Barroso's wonderful song written about his homeland. All of the essential elements are here: samba, Jobim's vocal and Fender Rhodes, and wonderful percussion work by Airto Moreira. Joao Palm also plays a great rhythm on the drum set, which gives the song its overall drive and sense of direction. Jobim is right at home on this, the most extended song on the album. It's nice to hear him play some different songs. Historically, this album and this song will go down as highlights in the Jobim discography, but will always be neglected gems when compared to his previous efforts, though this writer feels otherwise!

September 19, 2008 · 0 comments

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Antonio Carlos Jobim: Children's Games

On this dark waltz, Eumir Deodato's talents as an arranger really shine. He composed wonderful counterpoints for this Brazilian big band and utilizes the flute in ways not really heard on many Jobim albums of the past. The percussion really drives this song, as is the case with most Brazilian music, but also brings out the playfulness of the song title. Built over a simple vamp, Jobim layers some interesting Fender Rhodes sounds at the end of the song. It's a shame this album is so overlooked because songs like this are real gems and display Jobim's diversity as a composer.

September 19, 2008 · 0 comments

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Antonio Carlos Jobim: Tereza My Love

Antonio Carlos Jobim, one of the main architects of Brazilian music, finds himself in great company on this highly underrated album. Accompanied by fellow Brazilian Eumir Deodato, who did all of the arrangements, Jobim wrote this song for his wife, Tereza. It's a very open and free-flowing song that sounds like you should be enjoying the amenities of the beach in Rio De Janeiro. Urbie Green provides a great opening trombone line, and Herbert Laws follows with a flute line that creates an urgent sense of utopia. Ron Carter is also perfectly comfortable playing this light bossa nova.

September 19, 2008 · 0 comments

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Marcus Strickland: The Whole Page

On this hard-swinging number, Marcus Strickland sounds like a straight-ahead hard-bop tenor player from the '60s. His lines swerve in and out of Glasper's piano chords and E.J.'s accents. E.J. proves why he is also one of the most in-demand drummers with his performance on this song. As for Glasper, there's no doubt he is going to be one of the most celebrated pianists of this generation. His sheer dexterity is matched only by the soulfulness heard in the lines he plays on this song.

September 19, 2008 · 0 comments

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Marcus Strickland: Brooklyn Street Fair

Robert Glasper and E.J. Strickland start this song off with a nice introduction. This composition firmly establishes why Marcus Strickland is one of the most in-demand saxophonists in New York City and abroad. His sound is very inviting here and evokes definite moments of Wayne Shorter, while twin brother E.J. plays around the beat. The band creates a deep, swinging groove on this one. A great performance.

September 19, 2008 · 0 comments

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Marcus Strickland: Thump & Cadence

Tenor saxophonist Marcus Strickland is one of jazz's rising stars. He and his twin brother E.J. prove themselves worthy of taking over the reigns for the future of the music. Pianist Robert Glasper plays a dazzling solo, sounding at times much like Herbie Hancock but with his own style mixed in as well. The band takes the dynamic down a little for Marcus's solo, which is quite lyrical and sultry. A worthy performance from a young and exciting group.

September 19, 2008 · 0 comments

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Dave Holland: Shadow Dance

This tune opens with none other than the leader Dave Holland proving with a cryptic upright bassline why he's been so in demand over his 40-year career. He continues for more than 2½ minutes with a solo that has definite moments of Charles Mingus's influence. Antonio Hart joins in at the 3-minute mark with a dazzling flute solo that gives the song its title. Drummer Billy Kilson is quite at home with his free use of the ride cymbal and snare cracks. An overall great performance from one of jazz's more underrated contemporary big bands.

September 19, 2008 · 0 comments

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Dave Holland: The Razor's Edge

Veteran bassist Dave Holland assembled an all-star cast for this 2002 ECM release. Not only is this big band one of the best around in the new millennium, there's no piano—an absence that vibraphonist Steve Nelson uses to full advantage when heard. Holland's writing on this song is very reminiscent of Wayne Shorter, but with a more contemporary feel. Duane Eubanks plays a wonderful solo that is further accented by Nelson's vibes solo. Holland's skills as an arranger are especially displayed on the backgrounds, which sound like something you would hear in the opening sequence of a Hollywood spy thriller.

September 19, 2008 · 0 comments

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Wayne Shorter: Wild Flower

On this 6/4 masterpiece, Elvin Jones provides this stellar cast with a hard, swinging drumbeat. Also, this song represents Shorter at arguably the most creative stage in his career as he is joined by his former Jazz Messengers partner Freddie Hubbard. Combined with his Miles Davis mates in Hancock and Carter, this group should have recorded more, as they represent the strongest unit heard on record from this period, even eclipsing the groups of Coltrane, Davis, and Blakey. Hancock finishes the song off with his trademark use of chromatic lines mixed with diminished undertones, creating a hypnotic feeling before they break back into the head. A must for everyone who likes any of these musicians.

September 18, 2008 · 0 comments

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Wayne Shorter: Infant Eyes

Wayne Shorter, the master composer of post-bop jazz, is in full form on this ballad written for his daughter. Herbie Hancock opens with a wonderful piano introduction, followed by Shorter's haunting but beautiful melody. The harmonic structure is very beneficial to Wayne's tenor solo. The uniqueness of the changes allows Shorter and Hancock to exchange wonderfully developed ideas. This song is a strong testament to the genius and more importantly the versatility of Wayne Shorter both as composer and improviser.

September 18, 2008 · 0 comments

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Miles Davis: Billy Boy

This song represents the only piece from Milestones that features just the rhythm section, and rightfully so because Red Garland displays his piano wizardry. The former boxer from Texas is perfectly at home on this traditional number. His 4-note left-hand chords combined with his root-fifth layering of the melody are spellbinding. He interacts with Philly Joe Jones so well that I wonder what this trio could've done on their own if given the chance. The only part of this song that doesn't fit is Chambers's bass solo. Not that it's bad, but it detracts from the commanding performance of Garland.

September 18, 2008 · 0 comments

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Miles Davis: Milestones

On this modal 40-bar-form classic, Cannonball Adderley provides the jump-off solo with his always undeniable force on alto sax. Consistently rooted in the blues, Adderley's solo is the most riveting and moving as he sails across Red Garland's smooth comping. Davis's solo is nice but sounds like it would've worked better if he'd preceded Adderley. John Coltrane provides the last solo and exhibits his tenor sax mastery in ways very few have done since. Philly Joe Jones provides a nice change as he hits the snare on 4 every two measures, which makes the groove of this song during solo sections.

September 18, 2008 · 0 comments

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Miles Davis: Dr. Jackle

The late 1950s ushered in a new phase in the career of Miles Davis, who expanded his quintet to a sextet that included some of jazz's most talented soloists. Davis's solo here is one of the most swinging from his catalog. Coupled with a blistering ride pattern from Philly Joe Jones, the group is in full force and sounds much more aggressive than Davis's 1956 quintet. Paul Chambers's bowed solo near the end of the track highlights his virtuosity and helps make this performance stand out even further. Though Miles's sextet would, with a couple of personnel changes, be immortalized a year later thanks to Kind of Blue, this album displays the full genius of Davis and company.

September 18, 2008 · 0 comments

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Ornette Coleman: Sound Gravitation

Ornette Coleman took a step or two in a new direction with The Empty Foxhole. Whether or not it was a direction worth pursuing is something listeners must decide for themselves. The inclusion of his 10-year-old son as the drummer raised quite a ruckus when this record came out. Young Denardo was clearly his father's son: his iconoclastic (can a 10-year-old be an iconoclast?) approach on this freely improvised track disdains any semblance of time-keeping, instead accenting and responding to what his dad and Charlie Haden do on violin and bass, respectively. Ornette's violin technique consists primarily of scraped double-stops and very fast, serpentine lines. There's little melodic definition; it's mostly an exploration of timbre and texture. Haden mixes it up with Coleman & Son, while his fluttering pizzicato serves as an important organizing element. Denardo clearly has big ears and quick reflexes. Everything he plays relates to what his elders are doing. On some of the album's other tracks, he's forced into something of a conventional role, which doesn't suit him at this point. He's much better equipped to play absolutely free, as he does here with some success. This is a very noisy performance, more akin to '80s-era non-idiomatic free improvisation than jazz. Not for everyone, certainly. Maybe not even for Ornette. On his next two Blue Note albums he used Elvin Jones.

September 18, 2008 · 0 comments

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Ornette Coleman: The Empty Foxhole

If this music had been made by anyone other than Ornette Coleman, it would've been laughed at or dismissed out of hand. Actually, it was laughed at and dismissed by many at the time of its release. Even today—with Ornette an established figure given the widest possible benefit of the doubt by folks who otherwise scorn free jazz—it's still hard to listen to this without wondering what in heck he and the folks at Blue Note were thinking.

Ornette chose his then 10-year-old son Denardo play drums on the date. Was it done to provoke? Did he have a Dada-ish itch he needed to scratch? Could it be that he was just a little prouder of his son than he should've been? Whatever the reason, Denardo sounds exactly like what he was: a talented, enthusiastic but overmatched youngster.

This title track is perhaps the clearest example of his callowness. It begins with a martial snare keeping very shaky time in quarter notes. Charlie Haden on bass and Ornette on trumpet enter, Haden playing a simple triadic figure underneath Ornette's distant-sounding, bathetic theme statement. Ornette keeps his phrases simple; even on trumpet, he has that "cry" that distinguishes him as a saxophonist. Haden holds things together, playing with characteristic melodicism. With a Charles Moffett or Ed Blackwell in the drum chair, the total effect might have been stunning. Instead, they had Denardo, and Denardo's playing was infirm, underdeveloped—in a word, childish. And for good reason. He was 10, for chrissakes.

As any parent knows, your own child's first drawings are high art, while other kids' are mere scribbles. Maybe that's something Ornette never learned.

September 18, 2008 · 0 comments

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Michael Moore & Fred Hersch: The Sad Bird

Michael Moore and Fred Hersch began their musical partnership in the 1970s at the New England Conservatory of Music. But this practice-room acquaintance has blossomed into a rich musical dialogue, as demonstrated on their Palmetto CD This We Know. "The Sad Bird" is an exquisitely melancholy Hersch composition, and the two musicians plumb its emotional content to the depths on this track. I am reminded of another ornithological jazz composition, Jimmy Rowles's "The Peacocks," which also found its fullest realization in a memorable duet setting. Hersch's piano accompaniment is closer to classical music than to jazz here, and both pianist and horn player incorporate stylish bird calls into the proceedings that would make Messiaen proud. All in all, this is a very bittersweet performance.

September 18, 2008 · 0 comments

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Arturo O'Farrill & Claudia Acuna: In These Shoes

Latin jazz stars and friends in long standing Claudia Acuna and Arturo O'Farrill say they recorded this album just to have fun and nothing else. They say they weren't interested in pleasing "serious jazz cognoscenti" or wanting to "ingratiate themselves with jazz purists." Well, they have come to the right jazz critic in this case because I am neither of those things. I dug "In These Shoes." The song is fun even if I didn't understand vocalist Pedrito Martinez's Spanish lyrics. I still knew what he meant. The tune is basically a friendly suggestive tease between a man and a woman who is wearing some sexy shoes (a shoe/foot fetishist's dream). Acuna, who sings in English on the cut, has a wonderful jazz-inflected voice. Though it is true that most of the album probably would not pass the "jazz smell test," this tune has plenty of Latin jazz elements to qualify.

September 18, 2008 · 0 comments

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Pete Rodriguez: Who Do I Trust?

Trumpeter/composer Pete Rodriquez is the son of famous Latin music star Pete "El Conde" Rodriquez. He grew up in the Latin music world and performed with many of Latin jazz's biggest stars including Eddie Palmieri and Chico O'Farril. Despite this, his music is not dominated by these experiences. The Latin influence is certainly heard in "Who Do I Trust?" but it is no more of an element than a hundred different other things. This is high-energy aggressive modern jazz. Crashing drums and an ever-so-slight Latin-tinged bassline, doubled on piano, introduce the provocative melody. As the tune starts swinging it, Rodriquez has saxophonist David Sanchez take the first turn. We hear straight-ahead blowing. Sanchez can play real good. Rodriquez joins him for some forceful counterpoint. The energy is ramped up and maintained until the theme is reintroduced. Rodriquez has written some very enjoyable music. The superior talent Pete Rodriguez and his bandmates offer adds to only further the obvious. This is very good jazz played with zeal. I would trust them with my ears.

September 18, 2008 · 0 comments

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Brinsk: A Hamster Speaks

I don't know if I buy into the whole "vision of a metal/opera/cartoon with hamsters singing classical arias over metal-based rhythmic structures" concept as presented in the accompanying press release for this CD. That idea seems as if it was thought up in some group peyote experience. The comic CD cover art pushes the same proposition. (Too bad this wasn't 25 years ago so the art could be full LP size.) But my qualms about the inspiration of the piece aside, I do buy the music.

The material on A Hamster Speaks is quite engaging. In a strange way it reminds me of English humor you see in those programs PBS imports for U.S. viewing. Some of the material is funny, but it is always presented in a serious way. It's like a guy dressed in a tuxedo t